[Met Performance] CID:4250

Opening Night {3}, General Manager (Director of the Opera): Edmund C. Stanton

Lohengrin
1885-86
Metropolitan Opera House, Mon, November 23, 1885

Debut : Anton Seidl, Albert Stritt, Emil Fischer, Alexander Alexy, Jaro Dworsky, Carl Kaufmann, Emil S?nger, Mr. Van Hell




Lohengrin (25)
Richard Wagner | Richard Wagner
Lohengrin
Albert Stritt [Debut]

Elsa
Auguste Seidl-Kraus

Ortrud
Marianne Brandt

Telramund
Adolf Robinson

King Heinrich
Emil Fischer [Debut]

Herald
Alexander Alexy [Debut]

Noble
Otto Kemlitz

Noble
Jaro Dworsky [Debut]

Noble
Carl Kaufmann [Debut]

Noble
Emil S?nger [Debut]


Conductor
Anton Seidl [Debut]


Director
Mr. Van Hell [Debut]

Set Designer
Charles Fox, Jr.

Set Designer
William Schaeffer

Set Designer
Gaspar Maeder

Set Designer
Mr. Thompson

Costume Designer
D. Ascoli

Costume Designer
Henry Dazian


1885-86



General Manager (Director of the Opera)
Edmund C. Stanton





Lohengrin received ten performances this season.

Review 1:

Review of W. J. Henderson in The New York Times:

The season of grand opera in German at the Metropolitan Opera House was entered upon most auspciously. The rendering of the opera was uncommonly impressive as a whole, very striking at some stages of action, and quite free from glaring defects. Most of the performers required no introduction to the spectator. Frau Kraus has been heard already as Elsa, Fr?ulein Brandt as Ortrud, and Herr Robinson as Telramund, and concerning these artists it is only requisite to observe tha they renewed the agreeable impression of their earlier efforts. Herr Stritt, the latest impersonator of Lohengrin, promptly established himself in the good graces of the public. His voice is neither powerful nor vibrant, but it has the tenor timbre, is of sufficient range and quality, and its tones fall pleasantly upon the ear.

The new conductor from Munich, Herr Anton Seidl, who made his debut in the United States, is a German leader of high repute. Though still a young man, his efforts denote the possession of solid attainments, and his familiarity with the score was happily illustrated by the smoothness with which he carried out his task. The crescendo with which the swan scene and the prayer in the first act terminate, and the crescendo in the processional scene at the close of the second, were finely managed, the fortissimos being wrought up by well-nigh imperceptible gradations. Herr Seidl was summoned before the curtain after the first act; his reappearance at the end of the seond was injudicious, and prompts the suggestion that a musician of genuine talent needs no self-assertion to establish his claims in this country.

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